Kaurismäki, Aki

Career Time

Born April 4, 1957 in Orimattila , Finland . Aki was the third child in the family of salesman Jorma Kaurismäki (1931-1991) and his wife Leena, who left her career as a beautician for her family (she later worked in a travel agency). His father's work was connected with constant traveling, and the family often moved from place to place ^[1] .

He also lived in the cities of Toivala and Kouvola , where he was an active participant in film clubs.

Kaurismäki graduated from high school in Kankaanpää in 1973. ^[2] After that, in the late 1970s, he studied at the University of Tampere for three years . In his own words, Kaurismäki regrets that he did not spend these three years at a vocational school; the profession of a carpenter or electrician would have at least some tangible benefit. ^[3] In 1978, he worked as an editor at Ilta-Sanomat. ^[four]

While living and studying in Tampere, Kaurismäki took an active part in film production. Among other things, he was a member of the Monroe Film Club, organizing the Tampere Short Film Festival and writing film reviews and other cultural events for the Tampere Aviinen student magazine. Initially, Kaurismäki dreamed of becoming a writer, but he was more “hooked” by the movie. ^[five]

According to Andrei Plakhov , "the ancestors of Kaurismyak were named after Kuzmina and came from Karelia , his parents met in Vyborg ."

Personal life

Since 1981, Aki Kaurismäki has been married to professional artist Paula Oinonen. No kids.

He began his cinematic career as an assistant to his older brother, director Mika Kaurismäki .

The directors' style of Aki was influenced by such directors as Jean-Pierre Melville , Rainer Werner Fasbinder and Robert Bresson . Kaurismäki relies on a discreet acting and a simple cinematic narrative. His films have a delicate and elegant humor, vaguely reminiscent of the humor in the films of Jim Jarmusch , who, incidentally, played a cameo role in the film Kaurismyaki “Leningrad cowboys go to America”. Jarmusch, in turn, took actors who previously played only with Kaurismäki for the role in his film Night on Earth (the scene of one of the episodes takes place in Helsinki , the capital of Finland ).

Most Kaurismäki films also take place in Helsinki , the director’s hometown. In particular, “ Union of Kalamari ” and its trilogy, consisting of the films “ Shadows in Paradise ”, “ Ariel ” and “ Girl from a Match Factory ”. In the films of Kaurismäki, the city of Helsinki is shown with utmost realism, and there is no romance in its image:

The director’s world is riddled with the instinct of self-destruction, claustrophobic long white nights and a sense of backyard Europe. They are inhabited by waitresses and saleswomen, garbage collectors and miners, tram and trailer drivers, cursing their work when it is, and cursing life when they lose it.

- Andrey Plakhov ^[6]

World fame came to him after the film " Leningrad cowboys go to America " (1989).

His film “ A Man Without a Past ” won the Cannes Film Festival Grand Prix in 2002 and was nominated for an Oscar as Best Foreign Language Film in 2003 . However, the director did not come to the ceremony in Los Angeles in protest against the Iraq war .

The final film of the second proletarian trilogy Kaurismäki (“ Clouds Floating Away ,” “ A Man Without a Past ,” “ Lights of the City Outskirts ”) was shown in the 2006 Cannes Film Competition.

The Kaurismäki Brothers

The younger brother Kaurismäki Mika studied directing at the Munich Academy of Film and Television (1977-1981). The diploma work was the film “ Liar ” (1981), shot in Finland, written by Aki Kaurismäki. Also, Aki Kaurismäki played the main role. The diverse, both joint and individual work of the two brothers gave rise to the term “Kaurismäki Land” in the 1980s in Europe . Kaurismaki-land. ^[7]

The character Ville Alpha bears the name of the future production company of the Kaurismäki brothers - Villealfa Filmproduction Oy , which, in turn, was named after the movie Alphaville by Jean-Luc Godard . ^[8] This is the first and last full-length film in which Aki Kaurismäki appeared as the lead actor. The Liar was awarded the Risto Järva Prize at the Tampere Short Film Festival. ^[9]

Later, the brothers worked together on the documentary film Saimaa Phenomenon, as well as on the film Jackpot 2. Aki Kaurismäki, together with Pauli Pent, wrote the script for the movie “ Worthless ”, which was directed by Mika Kaurismäki. It was a thematic film that continued the theme of "Liar." ^[ten]

Then the brothers worked on the paintings “The Clan - the History of the Sammakko Family” and “Rosso”, Aki Kaurismäki wrote the script for them, and Mika again directed. But after these projects, their paths diverged, and both focused on their own directorial career. And Aki Kaurismäki no longer wrote scripts for other directors.

Over the years, films by Mika Kaurismäki have taken part in competitive screenings of festivals such as the Moscow International Film Festival , the Nordic Film Festival in Rouen, the International Film Festival in San Sebastian, the International Film Festival in Valladolid , the Short Film Festival in Tampere and some others.

Career start

He made the first full-length film on the basis of the classic novel by Fedor Dostoyevsky: Crime and Punishment (1983) - the story of the murder, the reasons that led to it and its consequences, transferred from St. Petersburg to modern Helsinki. Actor Markku Toykka plays the so-called Rodion Raskolnikov. A young law student, Antti Rahikainen , who kills a wealthy entrepreneur at the beginning of the film. Police inspector Pennanen and investigator Snellman are convinced of their involvement in the murder of Rahikainen. Detectives begin a psychological game with young men who have lost their temper, make him nervous and confused in his testimonies.

According to Kaurismäki, the film was a tribute to the golden years of the genre, when one murder was enough for one crime film. ^[11] The script was written by Kaurismäki with Pauli Pent. The film was praised by critics and viewers. The painting remained the most popular film by Aki Kaurismäki in Finland. More than “Man Without a Past” alone received more than 155,000 spectators.

In addition, thanks to Crime and Punishment, Kaurismäki began working with cameraman Timo Salminen , who shot all the films, with the exception of Jean-Paul Sartre's television play Dirty Hands (1989). Matti Pellonpyaya also played a major role in the film. Since then, he became an actor in Kaurismäki.

Union of Kalamari (1985)

The second full-length film by Aki Kaurismäki , filmed in 1985 and dedicated to the ghosts of Michaud and Prever . A group of determined guys, members of a certain Kalamari Union , natives of the poor Helsinki quarter Kallio , set off on a road full of dangers. They have a difficult path to the southern rich quarter of Eyre in search of a better life.

The Kalamari Union was made using cheap materials, in black and white and with a small number of helpers on site.

During his studies and before that, Kaurismäki worked in various craft professions, such as a dishwasher and a postman. Perhaps that is why he developed a special relationship with the working class, whose life picture has become one of its key topics.

The trilogy includes the films “Shadows in Paradise” (1986), “Ariel” (1988) and “The Girl from the Match Factory” (1990) ^[12] .

Kaurismäki described the trilogy in Voima magazine in 2005: “First came“ Shadows in Paradise ”,“ Ariel ”and“ Girl from a match factory ”, I called them the trilogy of losers, others for some reason called them the trilogy of workers. The characters were not workers, at least in the traditional sense ” ^[13] .

Shadows in Paradise (1986)

The first film of the trilogy tells the love story of the driver of the garbage truck Nikandra and the cashier of the supermarket Ilona. The film "Shadows in Paradise" can be considered the beginning of the so-called narrative of Kaurismäki. There are elements from the work Crime and Punishment, but Dostoevsky’s classic work in the film was a kind of “ballast”. Shadows in Paradise is, above all, an everyday, realistic description of the love of two people. All scenes of the film are rough and cold, without the visual beauty typical of romantic films ^[14] .

Ilona was the first role for Katie Outinen in the film Kaurismäki. Kati Outinen and Matti Pellonpaja, who played Nicandra Matti, became an updated and modern romantic couple, which used to be Ansa Iconen and Tauno Palo .

Ariel (1988)

The picture is the second part of the “proletarian trilogy” of Kaurismäki, begun by the film “Shadows in Paradise” and completed by “A Girl from a Match Factory” . The main character of the drama is the unemployed miner Taisto Kasurinen, whose father has just committed suicide, is charged with a crime that he did not commit. ^[15] Taiso escapes from prison with his cellmate. At the end of the film, Taisto, along with his beloved Irmen and her son Riku, board the Ariel cargo ship bound for Mexico.

According to an interview with Peter von Bagh, the idea and the entire script for the second film of the trilogy were born at Kaurismäki on one weekend.

FIPRESCI Prize and Best Actor Award (Turo Payal) at the 1989 Moscow Film Festival .

Match Girl (1990)

Its name refers to the story of Hans Christian Andersen's "Girl with Matches." ^[sixteen]

A girl from a match factory “completes the“ proletarian trilogy ”by Aki Kaurismäki, begun by the films“ Shadows in Paradise ”(1986) and“ Ariel ”(1988). As the director recalls, in a fit of hatred he came up with the idea of ​​making a film so slow that in By comparison, Robert Bresson would have seemed like the creator of action movies . ^{[17] The} slowed down narrative and the extreme minimalism of the dialogs help to feel the monotony of working everyday life. ^[18] As in the film “ Hamlet Goes to Business, ” the film’s figurative system is a conveyor for producing matches in first frames - indicates that the life of heroes is a natural continuation of the dominant production system, that it is in it that the root of their troubles should be sought. ^[17]

In the fact that at Kaurismäki society turns people into things, into objects, that they are all to some extent victims of the capitalist economic system, Jonathan Rosenbaum sees the influence of Fasbinder . ^[17] “The Girl from the Match Factory” is called Kaurismäki's most hopeless film. ^[19] Like the Coen brothers in the Hollywood mainstream , Kaurismäki fixes the world around him impassively, realistically, without compassion, making a disappointing diagnosis: there is no way out. ^[18]

It is symbolic that the television news shown in the film is dedicated to the events of 1989 on Tan'anmen Square (including a simple Chinese man with a string bag, who for half an hour alone restrained a column of tanks, a real person whose identity was never identified and who entered a story under the code name Unknown rebel ), the death of Ayatollah Khomeini , as well as the largest railway accident in Soviet history in Bashkiria in June 1989 .

Leningrad Cowboys and America (1989)

The film was shot in parallel with the film "Girl from a match factory". This tape brought Kaurismäki international success. The plot is built around the adventures of a musical group from distant Siberia , who came to America in search of success. The musical group from Russia was played by the Finnish collective Sleepy Sleepers, which shortly after the release of the film also changed its name to Leningrad Cowboys . They perform their own versions of famous rock and roll hits by bands such as Creedence Clearwater Revival , The Beatles , Steppenwolf and Elvis Presley .

“Leningrad Cowboys Going America” was akin to the “Union of Kalamari” with its absurd humor. Kaurismäki did not even take the film seriously. The tape was shot in the United States and was also Kaurismäki's first English-language film. In 1994, Kaurismäki directed the continuation of the film and called it "Leningrad cowboys meet Moses."

Hamlet Goes to Business (1987)

Classical philosophy, which began with Crime and Punishment, continued with the painting Hamlet Goes to Business (1987). The plot of the film freely follows William Shakespeare’s play “ Hamlet ”: despite the literal repetition of a number of dialogues, the action of the play was transferred to modern Finland with an inevitable shift in value-oriented accents. In terms of the cinematic form (contrasting black and white cinematography, transitions between scenes by slowly darkening the screen to full blackness, section subtitles), the film has much in common with Jim Jarmusch's early works, including “ Stranger Than Heaven ” (1984). The main role in the film was played by the Finnish television comedian Pirkka-Pekka Petelius (born 1953).

Like the proletarian trilogy of Kaurismäki, the film contains criticism of a capitalist society where everything, including family values, becomes the subject of sale . ^[20]

The irony is that instead of the avenger, Hamlet turns out to be the main destroyer of this patriarchal system instead of the avenger. Polonius manipulates his daughter Ophelia, who manipulates his fiancé, Hamlet, and he, as it turns out at the end of the film, manipulates them all with cynical egoism. The abnormalities of the upper classes in the film are opposed by the idyllic relations of the servant and the driver, who, as it turns out at the end, are assigned to the protagonist by the unions in order to observe the interests of the working class . ^[21]

Judging by the final shots, the turbulent passions playing out in the Hamlet family and the change of owners have little impact on the production process and the lives of ordinary workers: ^[21]

“This may be the only film where I managed to achieve a happy end,” says the director. - In others, the suffering of the main characters continues, but here everyone finds peace, with the exception of the dog, the maid and the driver. Here is a film with a class line in the style of Pudovkin - from beginning to end ” ^{[22] [23]}

Another statement on this subject: “People have a misconception about happiness. All my films have happy endings, and the happiest one is in Hamlet ” ^[24]

In the 1990s, the name Aki Kaurismäki began to gain international popularity. Awareness of him and his films was predominantly prevalent in Central Europe. Kaurismäki’s own film production has also changed, becoming more international, separating from Finland and Finnish film companies. In the 1990s, he began making his films in the United States , France, and England.

I Hired a Killer (1990) ^[25]

The first film director directed outside Finland - with the participation of English-speaking actors in London . The main role was played by Jean-Pierre Leo , known for his previous work with Godard and Truffaut . The tape participated in the competition program of the Venice Film Festival , and also received the Jussi National Finnish Film Academy Award for the best cinematography (Timo Salminen).

“I hired a killer,” the plot of which takes place in London, the protagonist works for a London water company. He is fired and after that he tries to commit suicide. However, he does not succeed and he decides to hire a hit man to complete the job. However, before he makes an advance for his own murder, he meets the beautiful flower seller Margaret. Subsequently, the hero no longer wants to die ...

According to Aki Kaurismäki, the film was based on the idea that several years earlier his good acquaintance, the Finnish film historian, Professor Peter von Bagh (Fin.) Had sketched out on paper. Aki explains the choice of this particular idea for the scenario “the constant growth of demand for medical services in the field of mental health” ... ^[26]

The film shows the influence of the Robert Siodmak film “A Man Who Looks for His Killer” (1931), which is why the Kaurismäki film was considered plagiarism in Germany .

The Life of Bohemia (1992) ^[27]

The film is based on the novel by Henri Murger "Scenes from the Life of Bohemia." In his interviews, the filmmaker emphasizes that his work is based on a literary work and has nothing to do with the opera of Giacomo Puccini , who, according to him, “destroyed the whole idea of ​​the book” ^[28]

Like Crime and Punishment, the director tried to transfer the events of the book to modern Helsinki, but in the end he realized that the film should be shot in real locations - in Paris. Despite the international cast, the handwriting of the Finnish director is recognizable by Scandinavian restraint. ^[29] And despite the fact that the film was shot in modern Paris, not a single car or the Eiffel Tower was shown (the director considered this a cliche).

Plot: France, 1960-1970s. Three men - representatives of the creative bohemia of Paris, who consider themselves unrecognized geniuses, lead a life on the verge of poverty. Rare cases when young people manage to get rich a little end in generous, but short-lived comradely revelations. Everyday life and a daily search for livelihoods brighten up the creativity and romantic passion for girls.

Aki Kaurismäki spoke of his film like this: ^[27]

“A sad comedy, which, incidentally, can be called a melodrama, tells about their life both against the background of a relationship with Mimi and Musette, two beauties from the village, lost in the abyss of a big city, and against the background of more ordinary figures. The daily existence of this trinity is a brilliant work in itself. <...> The intrigue of the film is so complicated that to explain it, it would be necessary to convene a commission. ”

• 1992 - Berlin International Film Festival : FIPRESCI Prize (Aki Kaurismäki);
• 1992 - European Film Academy Award : Best Actor (Matti Pellonpää), Best Actor in a Supporting Role (Andre Wilms); Nomination in the categories of Best Film , Best Supporting Actress ; ^[thirty]
• 1993 - Jussi National Finnish Film Award : Best Director (Aki Kaurismäki).

In addition, in 1992, Aki Kaurismäki was awarded the Legion of Honor , including in connection with the release of the film, which was shot in Paris, and where all the dialogues were written in French. ^[31]

Take care of your scarf, Tatyana (1994) ^[32]

Black and white movie in the genre of road movie .

The film takes place in Finland in the 1960s. Two friends, Valto ( Mato Valtonen ) and Reynaud ( Matti Pellonpää ) set off on a trip to Finland in a Volga car. On the way, they meet two friends from the USSR - Tatyana ( Kati Outinen ) and Claudia (Kirsi Tükkuleinen), who are going home. The language barrier makes communication somewhat difficult, but most importantly, young people are completely lost in the presence of new friends. In the end, the four of them swim away to Tallinn ...

For actor Matti Pellonpyaya, this was the last role - he died of a heart attack in 1995.

The film is built on the principle of duality, which critic Judy Bloch considers characteristic of all the work of Aki Kaurismäki and which, in his opinion, goes back to the duality of Finland - "the most Americanized Scandinavian country, but possessing a Russian soul." ^[33]

The duality of the first level in the film is connected with the division of the main characters of the film on men and women lying on the surface - and, accordingly, with the division into Finland and the USSR. The duality of the second level is associated with the differences between the Finns, whose representatives in this case are Reynaud and Valto. Raynaud, moreover, has his own inner duality: he is almost always silent, but sometimes he “breaks through”, as in the episode with the story about Lapland, and he speaks without ceasing. Duality “breaks out” at the end of the film and at Valto, when he suddenly drives his car into the glass window of a bar ...

In 1995, the film became the winner of the Jussi Award (Finland’s main cinematographic award) in two categories - “ Best Film ” and “Cinematography” (Timo Salminen).

Juha (1999) ^[34]

Black-and-white silent film based on the novel of the same name by Juhani Aho (1911), “The History of Marginals in a Marginal Country”. ^[35] The film premiered in February 1999 at the 49th Berlin International Film Festival ; the screening was accompanied by an orchestra. Aki Kaurismäki started shooting Juhu in the mid-1990s as a sound film, but he soon stopped filming. ^[35]

The rural idyll of the life of the lame farmer Juha (Sakari Kuosmanen) and the orphan Mary (Kati Outinen) is destroyed by the invasion of the city seducer Shemeikki (Andre Wilm), who takes Mary to the city and tries to force him into prostitution. Marya is pregnant, and Juha goes to take revenge.

According to film critic Andrei Plakhov , this silent film is a logical conclusion to the development of the director’s minimalist aesthetics: with each film, the dialogs in them are increasingly reduced, becoming “almost weightless” ^[35]

Clouds floating away (1996)

The plot is based on the fate of the staff of the Dubrovnik restaurant, who first find themselves without work, and then decide to revive their enterprise.

The synopsis of the film, which was written by Kaurismäki himself, contained only three sentences: “This film tells about“ old-fashioned ”people in this modern world. It has the main characters and the supporting characters. Some of them are slightly comical ” ^[36]

Pellonpaea's Memory

The film is dedicated to the memory of the beloved actor Aki Kaurismäki - Matti Pellonpää - who died at the age of 44 in July 1995, two weeks before the shooting. Initially, the picture was conceived as a continuation of the film “ Shadows in Paradise ” (1986), and Pellonpää had to play the main role - the employee of the Nikander restaurant, the waiter or the head waiter. The film as a whole was conceived as in a sense the solo project of Pellonpää. After his sudden death, Kaurismäki was forced to rewrite the entire script. The photograph of the child, which Ilona looks sadly in the film, is a child's photograph of Matti. The names of the heroes Kati Outinen (Ilona) and Sakari Kuosmanen (Melartin) remained from the painting “Shadows in Paradise” in the new film.

“Clouds floating away” became the most successful in Kaurismäki’s career. In addition to European countries, the picture interested several Asian countries, as well as the United States . The film was nominated for the Golden Palm Branch of the Cannes Film Festival . The picture did not receive a prize, but critics praised the film.

A Man Without a Past (2002)

The second part of the Trilogy "A Man Without a Past" (2002) raises the topic of homelessness. The main character belongs to the favorite breed of losers, who approach the edge of the abyss and look into it, but “at the last minute challenge the fate and refuse to follow the destined path of tragedy as if it were nothing more than a banana peel on which they had slipped ”( The New York Times ^[37]

In 2002, the Cannes Film Festival jury chaired by David Lynch awarded the film the Grand Prix , and Katie Outinen was awarded the prize for Best Actress. Five years later, Lynch singled out this picture as a film that he particularly liked in recent years. ^[38]

Meanwhile, the decision of the Cannes jury was perceived ambiguously, since the Finn unanimously prophesied the highest award - the " Golden Palm Branch ". ^[39]

In 2003, the film was nominated for an Oscar as Best Foreign Language Film, but the director refused to come to Los Angeles to protest the Iraq war .

Kati Outinen for her role in this film became a laureate of the Finnish national film award “ Jussi ” in the nomination “ For Best Actress ” (2003).

Other awards include the FIPRESCI Film of the Year prize at the San Sebastian Film Festival , the Nordic Council Film Award , the Cesar Award nomination for the European Union 's Best Film Award, and 7 European Film Awards nominations.

The soundtrack of the film is based on popular Finnish music of the middle and second half of the 20th century ( Annikki Tihti , Tapio Rautavaara , Marcus Allan) and songs of forgotten or little-known Anglo-American performers. A special place in the film is played by the music of the modern Finnish band Marko Haavisto & Poutahaukat in the spirit of a melodic stylized rockabilly with a typical Finnish sound. In the last shots of the film, performed by Poutahaukat and Annikki Tähti , a soulful song is heard about the Monrepos Vyborg park, in which the director’s parents met. For the first time this song was performed by her in 1955. ^[40]

City Edge Lights (2006)

"Lights of the city outskirts" - a crime drama. The tape was awarded several nominations (three of which were victorious) for national and international film awards, including the Golden Palm Branch of the Cannes Film Festival . The picture is the final part of the “ loser trilogy ” ( English loser trilogy - according to the author’s self-determination), ^[41] which fans and critics often call the “Finnish trilogy”. ^[42]

The first two films of the trilogy are filled with black humor inherent in the director. In this picture it is much less; if in the finale a glimmer of hope is visible, on the whole the atmosphere of the tape is hopeless. It is assumed that by the third part of the cycle, Kaurismäki lost faith in the possibility of victory in the “struggle of a small person against the system” ^[42]

The observer of the New York Post considers the picture one of the most important in the work of the cinematographer and speaks about the style of her video sequence: ^[43]

“A large number of close-ups of non-smiling faces turned into emptiness, minimal dialogs, long static episodes with characters who do absolutely nothing.”

Critics repeatedly mention the spiritual kinship and closeness of the character of Koistinen with the image of a small lonely tramp created by Charlie Chaplin in a series of films crowned by the tape “ City Lights ” ^[44]

Елена Плахова из журнала « Сеанс » считает, что фильм «Огни городской окраины» — парафраз чаплиновской картины, который, кроме того, возвращает зрителя к трагизму других фильмов финского режиссёра — « Девушки со спичечной фабрики » и « Преступления и наказания » ^[45]

Отзывы о картине иногда полярны. «New York Post» в своей рецензии на фильм утверждает, что если кто-то не знаком с творчеством Каурисмяки, то просмотр картины сделает его искренним поклонником творчества режиссёра ^[43]

Негативную критику многократно публиковали профильные издания США. Одну из наиболее острых оценок картине даёт еженедельник « The Village Voice », утверждая, что мелодраматический сюжет не вызывает сопереживания, игра актёров бездушна и лишена какой-либо эмоциональности. Аки Каурисмяки — «главный финский певец невозмутимого минимализма», — в очередной раз не нашёл причин для отказа от лаконичности и конформизма битников , которые он совершенствует с начала 1990-х годов ^[46]

Обзор мировой критики определённым образом пытается резюмировать журнал «Сеанс», который писал, что причина, по которой этот фильм "воспринят холоднее, чем прежние, в том, что режиссёр отказался от многих своих фирменных хохм и примочек, которые всем так нравились и всех так развлекали. Всех, но не его самого. Горечь подавила юмор, а трезвость в прямом и переносном смысле лишила картину галлюциногенного мерцания и сюрреалистического безумия. <…> Проверим своё впечатление через несколько лет: дистанция, которая все расставляет на свои места. ^[45]

Гавр ( Le Havre , 2011)

«Гавр», премьера которого состоялась в 2011 году, повествует о бывшем успешном писателе Марселе Марксе. Он живет в добровольном изгнании, став чистильщиком обуви. Он случайно сталкивается с мальчиком-беженцем и пытается его спасти.

События французского кино происходят в портовом городе Гавр на севере Франции ^[47] . Фильм участвовал в Каннском кинофестивале в официальной программе и получил награду Fipresci . Это был кандидат на Оскар для Финляндии. Фильм получил призы Юсси в шести номинациях в Финляндии ^[48] .

По ту сторону надежды ( Toivon tuolla puolen, 2017)

Второй фильм «трилогии о портовом городе», премьера которого состоялась 3 февраля 2017 года. Фильм с участием сирийского актера Шервана Хаджи и Сакари Коусманена . Также в фильме играют Кайя Пакаринен, Кати Оутинен , Томи Корпела и Туомари Нурмио. Каурисмяки сам написал сценарий и спродюсировал фильм ^[49] . Фильм был снят в начале осени 2016 года в Хельсинки , и за его распространение отвечала B-Plan Distribution. Фильм является частью программы к 100-летию Финляндии ^[50] . В феврале 2017 года на 67-м Берлинском кинофестивале лента Каурисмяки « По ту сторону надежды », участвовавшая в основном конкурсе, получила премию «Серебряный медведь» за лучшую режиссуру .

Титры в конце фильма вызвали спор между Каурисмяки и Маркку Пятиля, который рассматривается в суде. Маркку Пятиля должен был быть указан как постановщик и сценограф, но его имя Каурисмяки не упоминает. Однако, в своем письме в суд Каурисмяки утверждает, что он планировал все производство самостоятельно ^[51] .

После окончания кинофестиваля Каурисмяки заявил, что он планирует завершить свою карьеру в кино и это был его последний фильм ^[52] .

Director

• 1983 — « Преступление и наказание » / Rikos ja Rangaistus
• 1985 — « Союз Каламари » / Calamari Union
• 1986 — « Тени в раю » / Varjoja paratiisissa
• 1987 — « Гамлет идёт в бизнес » / Hamlet liikemaailmassa
• 1988 — « Ариэль » / Ariel
• 1989 — « Грязные руки » / Likaiset kädet
• 1989 — « Ленинградские ковбои едут в Америку » / Leningrad Cowboys Go America
• 1990 — « Девушка со спичечной фабрики » / Tulitikkutehtaan tyttö
• 1990 — « Я нанял убийцу » / I Hired a Contract Killer
• 1992 — « Жизнь богемы » / La vie de bohème
• 1993 — « Ленинградские ковбои встречают Моисея » / Leningrad Cowboys Meet Moses
• 1994 — « Береги свою косынку, Татьяна » / Pidä huivista kiinni, Tatjana
• 1996 — « Вдаль уплывают облака » / Kauas pilvet karkaavat
• 1999 — « Юха » / Juha
• 2002 — « Человек без прошлого » / Mies vailla menneisyyttä
• 2002 — « На десять минут старше — Труба » (эпизод «Собаки не отправляются в ад») / Ten Minutes Older: The Trumpet (segment Dogs Have No Hell )
• 2006 — « Огни городской окраины » / Laitakaupungin valot
• 2007 — « У каждого своё кино » (эпизод «Литейный цех») / Chacun son cinéma (segment La Fonderie )
• 2011 — « Гавр » / Le Havre
• 2012 — « Исторический центр » (эпизод «Хозяин таверны») / Centro Histórico (segment O Tasqueiro )
• 2017 — « По ту сторону надежды » / Toivon tuolla puolen

Documentary Films

• 1981 — Сайма - явление / Saimaa-ilmiö
• 1994 — / Total Balalaika Show

Short films

• 1986 — / Рокки VI
• 1987 — / Through the Wire
• 1987 — / Rich Little Bitch
• 1987 — / LA Woman
• 1991 — / Those Were The Days
• 1992 — / These Boots
• 1996 — / Välittäjä

Actor

• 1981 — « Лгун » / Valehtelija , реж. Мика Каурисмяки — Вилле Альфа
• 1982 — « Никчёмные » / Arvottomat , реж. Мика Каурисмяки — Вилле Альфа
• 1983 — / Huhtikuu on kuukausista julmin , реж. Ансси Мянттяри — Вилле Альфа
• 1983 — / Apinan vuosi , реж. Янне Кууси — Charlotte Corde
• 1985 — / Viimeiset rotannahat , реж. Ансси Мянттяри — Вилле, сын человека в белом костюме
• 1985 — « Союз Каламари » / Calamari Union , реж. Аки Каурисмяки — шофер
• 1986 — « Тени в раю » / Varjoja paratiisissa , реж. Аки Каурисмяки — консьерж отеля
• 1990 — « Я нанял убийцу » / I Hired a Contract Killer , реж. Аки Каурисмяки — мужчина, продающий солнцезащитные очки
• 1994 — « Ленинградские ковбои встречают Моисея » / Leningrad Cowboys Meet Moses , реж. Аки Каурисмяки — рабочий, имитирующий Чаплина
• 1994 — «Железные всадники» / Iron Horsemen , реж. Жиль Шарман — мужчина в кадиллаке

• Плахов А. С. , Плахова Е. Аки Каурисмяки. Последний романтик. Фильмы, интевью, сценарии, рассказ. — М. : Новое литературное обозрение, 2006. — 296 с. — (Кинотексты). - 1,500 copies — ISBN 5-86793-479-9 .

• Неофициальный сайт Аки Каурисмяки (рус.)
• Аки Каурисмяки на сайте городской библиотеки Ориматтилы (фин.)
• Аки Каурисмяки на сайте Elonet (фин.)
• Аки Каурисмяки на сайте журнала «Сеанс»